APPOINTMENT OF QUEBEC CINEMA
2009 Appeared in the journal Sequences
Christine Vachon, queen of American independent
By a happy combination circumstances, the Rendez-vous du cinéma québécois hosted the American producer Christine Vachon, head of early Todd Haynes, Todd Solondz, Larry Clark, Kimberley Pierce, Mary Harron, Mark Romanek, Ethan Hawke, John Cameron Mitchell, Rose Troche and Tom Kalin, while having back on track the old road John Waters and Robert Altman. Vachon animated film is a lesson particularly relevant and dynamic state of the U.S. production outside the major Hollywood studios in its box Killer Films.
BEGINNINGS
"I started in this business in the mid-1980s in New York. The time was very exciting, especially in Manhattan, where Jim Jarmusch and Spike Lee made their debut. One felt that a revolution was being born.
I do not know much about the production, but my ambition was to work in film. So I started by doing various jobs, including serving as production coordinator, supervisor, assistant editor and assistant director on films with small budgets, including co-productions. Todd Haynes approached me to produce his first feature, Poison, which was more experimental, even for the time.
So I learned my craft on the heap, often, reminding me my debut, I say that ignorance is the best thing that can happen to someone who nurtures an ambition. Over time, however I am still convinced of one thing: produce is never easy. It is also difficult, but differently. "MY STYLE
" I try to keep myself between Hollywood films and experimental. When I started, it was queer cinema, AIDS was everywhere and decimated many artists who lived in a hurry and wanted to create at any price, without compromise. Today, the independent film has become quite classic, each studio had until recently a subsidiary called 'independent' ...
My experiences on different positions have also taught me to see the film, independent or otherwise, as a vast mechanical and exciting encounter between the interdependent commerce and art. Deal with the financial package, make sure everything is consistent with the expectations of the director and the economic realities are what I like about my job. Many people ask me if I would have rather liked to be director and I answer that ... no. The dynamics of production stimulates me more than high point. "
ECONOMIC CRISIS AND HOLLYWOOD
" must now be more flexible and creative than ever before, because the studios do not really involved in the type of cinema that I produce. I must then I invariably turn to three sources: equity investors in equity, foreign presales and tax incentives offered in some areas as much as home runs with professionals in the area. Obviously, the Canadian dollar and tax credits are very beneficial to you, thankfully! * But I must admit that U.S. producers envy governmental funding agencies such as Canada or France, which ensure that manages to make films without having to solicit private funds. It would be unthinkable in the United States.
's how I got to run right now in Saskatchewan and Manitoba Lullaby for a Pi Benoit Philippon, a France-Canada co-production, so that these provinces have put forward tax credits very interesting. My dual US-French also allowed me to board the project.
PAY FOR THE FEAST
"Usually, two types of investors are willing to put their money in the production of films: those who believe may affect profits with revenue and sales of film abroad and those who simply want to put one foot in Hollywood and s' imagine going to the Oscars with Uma Thurman ... Most of the time, I meet people seriously, but all in all, I seek primarily individuals who think with their heart rather than strictly with their wallets. THE ESSENTIAL LUXURY
"When I Happiness, Todd Solondz had already been a modest success with his previous film, Welcome to the Dollhouse , but it was not enough for it to turn with greater resources. I needed $ 6 million and the investors have promised me the money if Patricia Arquette, who was popular at the time, ensured its participation in the film, which she did. But his mother fell ill and was forced to break his contract. The shooting would start and we were suddenly in search of an actor and capital once again. That was when I visited my early investors and asked them how much they were willing to give me if I was shooting without stars, or $ 2 million. Todd has adjusted and made at the end the film he wanted.
The same thing happened when Boys Do not Cry, Kimberly Peirce while wanted to hire Hillary Swank, a pure unknown at the time, but our investors held fiercely to hire an established heading. The identity of the actors became more important than before and this trend is not about to fade. "
OF DIRECTORS PARTNERS
" There are many filmmakers who I want to work - Robert Altman was the One of them - and Robert Benton, another director I admire, will make his next film at Killer. But the important thing is the relationship that I can grow with them. You should know that I will fight alongside them and defend them beyond reason on projects that can take several years to materialize. In fact, the director has to feel concerned as it was co-producer of the film with me. Sometimes it does not work. Then I must also find the rare pearl, often reading from a script, because I enjoy working with young filmmakers at the time of their first feature film. But you must know that the younger generation is often more interested by the proposed TV series as films, a situation that saddens me. "THE GRAND SLAM
" The film festivals are always in my eyes the most important rendezvous of the year to secure financing or sell their movies once completed. I limit myself to Cannes, Berlin, Venice, Sundance and Toronto, although SXSW (South by Southwest in Austin, TX) and Telluride are in growth phase. Anyway, these platforms are essential, not least that they generate for the attraction and recognition for our work. "
* Christine Vachon has toured the Eastern Townships Eastern Townships and Montreal several scenes of the film I'm Not There Todd Haynes in 2007, while using the services of Studio Ex-Centris in order to produce certain visual effects through the special effects supervisor Louis Morin.
© 2009 Charles-Stéphane Roy
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